honorable mention
Marnie Haddad australia
title
"Sweet Sixteen" untitled #1, #2, #3
Inspired by Sofia Coppola’s ‘The Virgin Suicides’, the bleak 70s, melancholic feel of Haddad’s images interpret the subject of lost innocence.
Whilst trapped between her youth and adulthood, the protagonist is nestled within Marnie’s custom, filmic environment.
For this series, Marnie desaturates her colour palette to pastel hues and utilizes a constant light source to illuminate the set.
The isolation and mystery of the setting unveil the uneasy relationship with herself, her strict upbringing and her unspoken lover- Trip Fontaine.
Haddad’s new works draw inspiration from her love of classic film, depicted in her evocative and poetic portraits utilising shadow and subtle illumination. Haddad’s cinematic staging, rich painterly hues, technical precision and romantic undercurrents are beautifully articulated in this latest photographic essay.
In this series, Haddad illustrates ‘a time that stands still’, she commented – “it’s neither comforting nor unsettling, but focuses on the kind of timeless travel that stops the clock and allows your imagination to transport you.”
The fantasy that cinema brings has long ignited Haddad’s artistic sensibilities, she recalls being mesmerized by a flickering theatre scene where ordinary objects take on deeper meanings - the pink fluted glass, the arranged flowers, the street lights casting stripes through the venetian blinds, the curtains locked in folds, the heavy velvet that sits and fades with the migrating sun.
Haddad’s quest is to keep alive and tangible the fantasy that sometimes exists only in our minds. The result is the creation of an etched memory that is everlasting and invites you to dance within the possibilities.
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entry description
'Sweet Sixteen'Inspired by Sofia Coppola’s ‘The Virgin Suicides’, the bleak 70s, melancholic feel of Haddad’s images interpret the subject of lost innocence.
Whilst trapped between her youth and adulthood, the protagonist is nestled within Marnie’s custom, filmic environment.
For this series, Marnie desaturates her colour palette to pastel hues and utilizes a constant light source to illuminate the set.
The isolation and mystery of the setting unveil the uneasy relationship with herself, her strict upbringing and her unspoken lover- Trip Fontaine.
about the photographer
Marnie Haddad unveils her new exhibition, ‘The Estate’ at Graham Geddes salon from 15 – 22 March 2019.Haddad’s new works draw inspiration from her love of classic film, depicted in her evocative and poetic portraits utilising shadow and subtle illumination. Haddad’s cinematic staging, rich painterly hues, technical precision and romantic undercurrents are beautifully articulated in this latest photographic essay.
In this series, Haddad illustrates ‘a time that stands still’, she commented – “it’s neither comforting nor unsettling, but focuses on the kind of timeless travel that stops the clock and allows your imagination to transport you.”
The fantasy that cinema brings has long ignited Haddad’s artistic sensibilities, she recalls being mesmerized by a flickering theatre scene where ordinary objects take on deeper meanings - the pink fluted glass, the arranged flowers, the street lights casting stripes through the venetian blinds, the curtains locked in folds, the heavy velvet that sits and fades with the migrating sun.
Haddad’s quest is to keep alive and tangible the fantasy that sometimes exists only in our minds. The result is the creation of an etched memory that is everlasting and invites you to dance within the possibilities.
back to gallery